Part three : Hadestown Project

BRIEF

analyisis

01

WORKING DRAWING Persephone's 'corset' top

embroidery details appliquéd as faux panel- seen in stylised illustration straps with attachable ribbon

6 panels of main fabric plus lining fabric

peplum featuregathered strip of fabric 6 eyelets and ribbon to thread through.

Here you can see my 4 pattern physicalpieces and additional 4 mirrored pieces which I digitally scanned on a printer in and have arranged in the formation that I intend on sewing the garment. I added seam 0.5 seam allowance as well as grainline directions and instructions on cutting and sizing. However, I may have to make alterations during the process of making my toille and fitting correctly to the size that I wish, I am happy with these pattern pieces and therefore will test out my pattern by constructing this toille.

Here are all 8 pattern pieces cut into my toile fabric, which is recycled offcuts from a previous project. I used this because it is a poly cotton blend fabric which is what i intend to use on my final garment.

I started construction by pinning all the pieces together right sides together and sewing 0.5 cm from the edge , pressing seams open and flat as i go, which really helped my garment to look neat and professional. additionally i then made two straps 7cm wide by 50+cm long (long so that i can alter to the correct size) sewing the strips of fabric folded lengthwise 0.5cm seam allowance, then using a safety pin and string to turn right side out, additionally once pressed sandwiching these two straps in-between the lining and main fabric that lay right sides together, sewing the top edge to secure all in place.

Daily logs I made during the making of my toille :

ADAPTATIONS The purpose of the toille is to check and alter how the pattern fits your body, during the construction of my toille these are the adaptations I had to make to my design/ pattern in order to fit correctly.

original pattern piece that is too short

whats the problem: Back panels do not meet. why is this a problem: I Designed the garment to have an inch gap between panels '1/4 left' and '1/4 right' create unflattering lacing when adding in eyelets to the garments. what needs to happen: the panels need to be closer together the straps need to stay in the same place stay true to the 4 panel design- ideally don't add another panel.

How will this happen: first unpick top line of stitching which holding main lining and straps together. second, unpick the two 1/4 panels. extend 1/4 panel pattern by desired length (measured on mannequin is 6cm) cut out 2 main & 2 lining with new pattern piece, attach with 0.5 seam allowance and redo top line of stitching , sandwiching straps in between.

adapted pattern piece adding 6cm plus the 0.5 seam allowance.

ADAPTATIONS whats the problem: straps too long doesn't look like my design.

original design for straps why is this a problem: my design has two straps that tie at the top of the shoulder, whereas this is one singular strap.

The long strap makes the bodice sit lower tan it should. what needs to happen: correct strap length Materials that stay true to the design.

Two straps that tie at shoulder.

How will this happen: use ribbon instead of the cotton straps pin on mannequin and find correct strap length measure how far into pattern piece 1/4 the straps sit first unpick top line of stitching which holding main lining and straps together. after completing other alterations redo top line of stitching , sandwiching straps in between.

Toille after adapting my design.

ADAPTATIONS measuring how long to make each strap, leaving enough room to make a bow, like in design.

Toile after sewing in the new 1/4 panels that i changed by adding 6cm

measuring how far from edge to sew the straps - 6.5 cm

here you can see both my lining and main fabric, right sides together with my 4 pieces of ribbon pinned right side up

In these pictures you can see the tools I used to insert eyelets to the fabric and how it looks laced, I used elastic to increase comfort, which worked well. Additionally, I found it hard to evenly space the eyelets- seen in my notes and in my final top i will reinforce the main fabric with interfacing to help as well as create a template.

Here you can see my top with all adaptations now in place and turned right side out, pressing to make sure edges are neat. I also topstitched where the straps were to increase durability.

I sewed matching shop brought (1 metre) black bias binding along the raw edge and two sides, unfortunately, ran out but I made my own by cutting a strip on a 45degree angle- i know to buy/make more than a metre for my final top.

My final step was to add a gathered peplum feature. I ran out of my toille fabric so instead of sewing on the peplum i used leftover fabric from another project to test the correct dimensions which I found to be a 10cm by 140cm rectangle.

Daily logs I made during the making of my toille :

*improvements and notes that i will refer to

FINAL DESIGN Persephone's 'corset' top embroidery details on front pannels four 1 inch by 70cm ribbon straps that tie at shoulder

6 panels of main fabric plus lining fabric

peplum featuregathered strip of fabric : 10cm by 140cm

6 eyelets and ribbon to thread through.

Here is my final toille and working drawing with the new adaptations I'm really happy with the way it turned out and looking forward to making the design with the *improvements listed in my notes.

I have here my lay plan I drew in procreate using photographs of my pattern as a reference. Also here is a photograph of my fabric with notes on the grain ectI used this as a guide and placed all my pattern pieces so that they were parallel to this line as well as trying to reduce fabric waste.

HEALTH AND SAFETY It is key that I know how to work safely to create a healthy work environment. In college, I must consider this within the pattern cutting rooms, computer rooms, the textiles studio, when working with machines and walking around the college.

HAZARD WATER SPILLAGE ON STDIO FLOOR.

WHO IS AT RISK?

WHAT ARE RISKS?

HOW CAN THE RISK BE LOWERED?

Anyone walking into the studio

injury- falling/ slipping over

wet floor sign/ cleaning it up

water on floor

wet floor sign/ cleaning up

Anyone walking into the studio

injury- falling/ slipping over

tuck bags out of the way

trip hazard, the bags.

tuck bags out of the way

serious injury

hold correctly, use guard.

the scissors

Hold correctly use guard

breathing it in

gloves and mask

The dye/chemicals

Gloves + masks

injury and contamination

follow machine rules and setup sanitise after use.

HAZARDS?

CAN IT BE AVOIDED ?

There are many ways to keep safe in the workroom: storing equipment – dispose of all sharp pins and needles that are broken, if you have any hazardous substances go by the COSHH regulations, try to keep any sharp objects in a case, use a guard on the rotary cutter.

Equipment-use of goggles/ gloves when necessary.

Clean equipment before and after use, don’t borrow from peers.

Use- when hand sewing uses a metal or fabric thimble, hold sharp objects correctly, take general care.

Machine use- ensure needle guards are on the industrial machine before use, lighting must be adequate before using machinery, power switched off when carrying out needle changing etc, work areas must be inspected regularly, when using overlocker clean fluff fly always and offcuts to prevent build-up, Clean before and after use, use only designated machine.

BAGS ON FLOOR

WALKING IN Person holding the STUDIO WITH scissors, people SCISSORS around them.

USING THE DYES

whoever is using the dyes

USING SEWING MACHINE

Person using machine and whoever uses it after.

NOT ADHERING TO COVID19 RULES

everyone in studioespecially at risk getting Covid-19 groups.

social distancing, masks, disinfecting ect.

the machinery

Being in the space

follow machine rules and set up sanitise before and after use Social distancing using mask cleaning workspace

disinfect workspace desk and any equipment after use. open doors and windows for ventilation

practice good hygiene- use elbow/tissue.

wear a face covering on public transport and in the classroom

don't touch your face

COVID 19 staying safe when working

wash your hands regulary! follow arrows and socially distance

know the symptoms and if you have any isolate and take a test

selvage

grainline fold

I was conscious of fabric wastage and any bigger scrap pieces were used later in my project for samples. In the images l(left) you can see all the fabric waste I had in this project.

Using my lay plan as a reference, I pinned my pattern pieces in line with the grainline, cutting two of each, I also drew carefully around the pieces in tailor's chalk so that when I was cutting I could be more precise, I did this also because in my toile I found that if my pieces weren't cut accurately it was difficult to sew the bias binding on the bottom edge. However, Because the fabric was a plain weave cotton poplin the fabric was very easy to cut this is because it didn't slip or stretch.

PREPARE FOR SEWING Because I tested everything with my toile I'm confident in the changes I have to include in my final design, one of those changes is using interfacing. A problem with this is that I haven't tested this out, and my design includes embroidery which might be affected by using interfacing so I created two roughly sewn samples to test this. Sample one has interfacing on the main fabric side which I embroidered. Sample two has interfacing on the back lining fabric and I embroidered the non interfaced side.

In comparison the sample with the embroidery on the interfacing worked better, it stabilised my fabric whilst the sample with interfacing on the back puckered and looked untidy therefore : I will interface all main fabric pieces, including the panels with embroidery. sample one

sample two

lay out pattern pieces The first thing I did after cutting my pattern out was taking the paper pattern off the pieces and layout in order, separating the main fabric and the lining, placing the according to interfacing that I cut on top of the main fabric pieces, marking the smooth side with tailor's chalk so that I infuse the interfacing correctly.

infuse interfacing: here you can see me ironing my fusible interfacing the instructions on the interfacing recommended medium heat for 8 seconds any longer and it starts to wrinkle, seen here in the photograph:

SEWING SIDE SEAMS

when taking pins out of my fabric I noticed that they left marks, this might be because it is a cotton poplin which means it is slightly stronger than regular cotton, therefore I chose to use clips instead of pins.

Before and after ironing the seams flat: Before

when taking pins out of my fabric I noticed that they left marks, this might be because it is a cotton poplin which means it is slightly stronger than regular cotton, therefore I chose to use clips instead of pins.

after

after

my notes of my toile, I decided that in my final top I will press all my seams flat as I sew the side seams which you can see here, I chose a simple plain seam because I didn't want to create any unnecessary bulk as no raw-edged will be visible anyway.

SEWING SIDE SEAMS I repeated the steps of clipping side seams, sewing 0.5cm from the edge, clipping threading and pressing seams flat for my lining fabric until all 14 seams were sewn. You can see this in the images here.

EMBROIDERY

took some photographs in the gardens of Kedleston hall at the start of spring because Persephone brings the spring I thought i'd include similar colours, seen here is an initial character sketch which has some flower pressings, an embroidery sample, outline drawing and also a repeat pattern I made on procreate

EMBROIDERY

Here you can see the design that I drew based on the previous pages inspiration I used this as a template, mapping out the colours of the thread I want to use digitally ( i choose to do it digitally so that it was easy to edit) I then used my lightbox and a water erasable fabric marker to trace this template onto my bodice, which I then embroidered.

EMBROIDERY long and short method

french knots

lazy daisy stitch

SEWING TOP EDGE First I cut my four staps out of a one-inch green ribbon, each 70cm long.

After this, I pinned/clipped the two top edges of the lining and the main fabric, right sides together. Then, sandwiching the 4 straps inside, two at the two peaks at the front of the bodice and the other two 6.5cm away from the edge.

here you can see the straps sandwhiched inbetween

turning right side out, I topstitched the staps with a smaller stitch length

I then sewed the top edge 0.5cm from the edge

finally, I pressed it all flat.

FINISHING EDGES Because the stitches aren't visible on the top edge I only need to finish the side and bottom edges. I chose to Finish raw edges with bias binding so it looks neat and adding more structure to my design.

I started by pinning/ clipping the bias binding flat and sewing along the first fold line, making sure that the fold is aligned with the edge of the fabric and its I changed the stitch length and carefully topstitched the edge of the bias on the inside of the binding top.

Turning the top right side up I let the bias binding fold naturally, pressing to make it stay in place

EYELETS

because in my toile I found it difficult t insert the eyelets correctly I made a template on the computer, seen here in photographs I made a couple of versions until I was happy with the placement.

For my eyelets I used 6 11mm brass eyelets, scissors, a hammer, a hard surface- I used a block of wood- and the eyelet tool that comes when purchasing. By using what I learned on the toile I was able to space them very neatly and I'm happy with how they turned out.

GATHER For my gather around the bottom edge of my top, I first cut a rectangle 140cm by 10cm- which I found from experimenting on my toile, pressing and folding all sides and sewing in place to create a neat hem, I then adjusted the stitch length to 3.5 and only backstitching one end, leaving plenty of thread at the end, I gathered the fabric very gently with my hands making sure not to snap the thread.

After making sure i gathered it to the correct size i knotted ends and hand sewed it, catching the lining so stitches wouldn't show on the front of the garment.

Infuse interfacing and pin together side panels

Cut out main fabric pieces, lining, 10cm by 140cm rectangle and interfacing pieces.

embroider front panels

sew side seams for main and lining sides, press flat.

sew on bias binding to bottom and two side edges .

with main and lining right sides together and sew top edge, sandwiching four straps inside and topstitching straps when turned right side out

hem and gather the 10cm by 140 rectangle and hand-sew on inisde.

insert eyelets, 3 on each side

here you can see my final design as my finished garment.

final design outcome